Il Divo – Déardaoin san Ionad Chultúrtha

ildivo

Scannán é seo ó mhaistir scannánaíochta.  Tugtar léargas ann ar stair chorraitheach na hIodáile tar éis an Dara Chogaidh Domhanda, trath go raibh polataíocht na tíre sin in aimhréidh agus rialtais á thoghadh agus á chur as oifig ar luas na gaoithe.

Duine de na príomh phearsaí le linn an ama sin abea Mario Andreotti, príomh aire na hIodáile ar sheacht ocáíd éagsúil.  B’é an cheannaire ar Pháirti na nDaonláthach Criostaí agus le linn a ré ba tír aon pháirtí an Iodáil fiú is go raibh cúrsaí polatúil i gcónaí i gcíor thuathail.    Ba léir gur fear ildánach ar leith abea Andreotti – ach is beag eolais a bhí – agus atá – ag a chomhshaorannaigh ar an bhfear mistéireach seo.

Paolo Sorrentino’s magisterial Il Divo reaches into the tumultuous political history of post-war Italy to craft a dazzling portrait of one of the period’s most complex and ambiguous figures, Giulio Andreotti (Toni Servillo). Arguably the most important Italian politician of the last fifty years, Andreotti entered politics in 1946 and led seven governments, turning his Christian Democratic party into a force that ran Italy in what was essentially a one-party system. To do so clearly required a man of singular abilities – but Andreotti was, and remains, an enigma to his fellow countrymen.

Ní scannán dír bheathaisnéise den ghnath chló an scannán seo.  Díríonn an cheamra ar an bhfear seo i slí a fhagann tú faoi mhí chompórd agus tú ag déanamh doimhin staidéar ar an bhfear fuinniúíl forsúil seo.  Tá rath ar an gcur chuige seo mar gheall ar an aisteoir atá i bpáírt Andreotti – Toni Servillo.  Is ar éigean nach gceapfá gurb é Andreotti féin atá ann.   Beireann an stiurthóir greim orainn ón tús le radharc a dhíríonn ar Andreotti agus a aghaidh clúdaithe le snathaidí ‘acupuncture’.
The film eschews the traditional biopic format in favour of a far more claustrophobic, focused look at the man. This concentration of energy and force pays high dividends, especially as Sorrentino has found a perfect vessel in Servillo, an actor who loses himself in the role and effectively “becomes” Andreotti before our eyes. From the film’s opening moments when we are confronted with Andreotti – in intense close-up, with acupuncture needles covering his face – we are unmistakably in the hands of a master.

Is cosúil gur polaiteoir abea Andreotti a raibh suim aige i dtoraíocht na cumhachta seachas i bhfeidhmiú na cumhachta nuair a bhí sé bainte amach aige.   Agus cuireann seo leis an tarraingt atá ag an scannán seo.    Tá eolas aige ar na gcúl dorchlaí ina roinntear na cumhacht ach is beag a spéis i gcúrsaí polasaí. Díríonn an scannán seo ar chúlbhóithre na smaointe in aigne Andreotti – is léir go bhfuil rún daingean aige tuiscint a bhaint amach.  Sa deireadh, áfach,fagtar againn an mhistéir i gcónaí.

Bhuaigh an scannán an Prix de Jury ag Féile Idirnáisiúnta Cannes i 2008.
What is fascinating about Il Divo is the manner by which it hones in on a man who is apparently more interested in obtaining power than actually wielding it. Andreotti is a tightly coiled, extremely controlled, almost emotionless field of energy who successfully navigates the backroom corridors of power but appears unconcerned and uninterested in issues of policy. Sorrentino’s conceit is not to skim the surface of Andreotti’s political accomplishments, but to stare as if through a microscope into the more private corridors of his thoughts. This he does with an intense desire to see and understand, though perhaps only the enigma remains.

The film was awarded the Prix du Jury at the 2008 Cannes Film Festival.

Director Biography
Paolo Sorrentino was born in Naples in 1970. In 2001, his first feature, the dramatic comedy L’Uomo in più (One Man Up) was invited to Venice. It was widely honored in Italy and overseas. It also marked the beginning of his collaboration with longtime favorite actor Toni Servillo. In 2004, Paolo Sorrentino made his second film Le conseguenze dell’amore (The Consequences of Love), which premiered in Competition at the Festival de Cannes. It was a great success and won numerous prizes including five David di Donatello (for Best Film, Best Director, Best Screenplay, Best Actor and Best Cinematography). Two years later, he returned to the Croisette with L’amico di famiglia (Friend of the Family). It was with his fourth film Il Divo, the portrait of the Italian Prime Minister Giulio Andreotti, that Sorrentino won the Prix du Jury at last year’s Festival de Cannes and has been nominated for 16 David di Donatello. – Cannes Film Festival 2008

  • Winner of the Jury Prize at the 2008 Cannes Film Festival
  • Nominated for the Palme D’Or at the 2008 Cannes Film Festival
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